5 comments about Jelly Roll Morton: 1926-1930.

1. A better buy simply does not exist. Well remasted and probably the best time frame of Jelly Roll's career.



2. These sides are treasures from the 1920s. Just as JSP's "Louis Armstrong and the Hot Five and Seven", they have been miticulously restored to their former glory. There is very little distortion. What a marvel of modern technology. Get these gems before they go out of print!



3. This is a bargain, both the price and the sound quality of this Jelly Roll Morton set. While I do have a few of Jelly Roll Morton's CDs, this one is just terrific. The remastering of this set is just simply put the best that I have ever heard. As far as I know, the complete recordings, both original and alternate takes are complete. One of the viewers mentioned that he only likes 1920s sound, and this does not measure up. I also am a 1920s person, and I believe it more than measure up. It's great and fun music. If you are a jazz fan, or like the music of early America [especially that sweet jazz sound] then I would highly recommend this CD for your collection. With all of Jelly Roll Morton's sessions from 1926-1930, remastered with an incredible sound, then look no futher than this CD collection.
   
   Moreover, the price is a great bargain. Also, I was not aware of JSP, and the problems that this particular distributor of music was embroiled in. However, the sound is just great. And I do highly recommend it to all viewers. I am not sure if amazon has a listening sample [I am pretty sure they do] but if they do, I would highly recommend you listening to these great sounds. Of course nothing sounds as good as it would on your stero, however, if you have never listened to Jelly Roll Morton, then I would recommend you take a few minutes out of your time and listen to the listening sampling's that amazon offers its viewers. [If it is there]. And if not, listen to some of the other Jelly Roll Morton CD samples that I do know are listed. Jelly Roll Morton's place in the pantheon of jazz is paramount to anyone who wants to build a jazz collection. And I recommend that you start with these magnificent recordings. Highly recommended.



4. This box set is from the earlier days of JSP; before they developed a rather dubious reputation for alleged piracy. It's a great set, mastered for them by John R T Davies. The layout is a little confusing, with alternate takes appearing on opposite discs, rather than in chronological order, but that's a minor issue. Otherwise, the sound quality is superb, another smashing Davies production! The impact of Morton's body of work is incalculable --- what a vital set for any jazz collection!



5. I love twenties and thirties music and have a large collection of it. While I know that Jelly Roll is very important to the history of jazz, there is very little of his music that I enjoy. I recognize the technical virtuosity and the improvisational inventiveness. I prefer my twenties jazz sweetened up with the melody prominent, not simply a starting point for improvisation and jamming. Much of this type of Jazz wears on me the way those twenty minute guitar or bass or drum solos from the late sixties wore on me. Yes, I can hear that you can do incredible things with your instrument. Fine. You have my admiration, but not my love. This album is not going to be played every month (or year) the way my Six Jumping Jacks albums are played. Sure, Morton and his bands are the better musicians but the SJJ's have my love the way that The Kingsmen's version of "Louie, Louie," is my favorite version of that song. I'm glad I have this but it won't get played much.

1 comments about Original Source.

1. Amazon's review calls this a budget release, which may be a bit misleading. This is the exact equivalent of any of the JSP blues boxes. The packaging is very cheap, but the music is major-label quality and remastered(just like JSP). This has everything T-Bone recorded from 1951 back. The major downside(if there is one) is that it ends abruptly in 1951 in the middle of his tenure with Imperial. He was with that label from 1950 through 1954, and this collection has the first half(or so) of that output. There is no real reason to end it here when this could have been a 5-CD set including all the Imperial material. His entire Imperial output is available on an excellent 2-CD set, but the first disk, and the first couple of songs on the second disk of that set overlap with the last disk and the end of the third disk of this set. If you don't buy both sets, you will have the blues when you hear what you're missing!!!!!!

5 comments about Louis Jordan & His Tympani Five.

1. Simply put, for its value this is one of the greatest collections of CD's of utter joy and happiness around.
   
   This multivolume set covers the early music and musical peak of the musical and comical link between Bert Williams and Louis Armstrong (LJ's dad was a friend of Bert's and used his records to inspire his son, and Satch was a mentor and occasional collaborator with LJ) and the first generation of R&B rockers (Ray Chalres, the Godfather, B.B. King, and Little Richard have all sang their praises to LJ).
   
   Some of his really rare early music is found on the early discs. It took him a while to find his style of humorous stories told to a beat and inspired sax playing, but there are still some diamonds in the rough here. "Swinging in the Coconut Trees" is an amusing and atmospheric instrumental, "Keep a Knockin" was later covered by Little Richard, "Do You Call That a Buddy" is a good comical blues with some nice background singing by the T-5, "June Teenth Jamboree" is probably the first record to deal with this early black holiday (LJ was astudent of Black folklore, and incorporated it into his music), and "What's the Use of Gettin' Sober" is the kind of wild, authentic black humor that would put Amos & Andy's "PseudoNegro" antics to shame.
   
   Later on, we get into the familiar bits of inspired nuttiness and great musicianship. "Caldonia," "Sat Nite Fish Fry," "Choo Choo Ch'Boogie," "Beware" (and its sequel "Look Out Sister" which has some hilarious early rapping), and what is to me the funniest R&B record of all time, the knee-slapping floor-pounding classic BEANS & CORNBREAD.
   
   We also get some of the calypso tunes with Jordan's expertly delivered "Jafakean" accent such as "Run Joe," "Early in the morning," "Stone Cold dead in the Market," and "Push Ka peesh Kee Pie." The West Indians were flattered by these tunes and LJ made succesful tours of the West Indies.
   
   However, the set ends at about 1950, just before our man's career peaked. But his later material is available elsewhere on Amazon. In either case, whenver you come home from a hard day at work, put this set on your CD player. It'll put your psychologist out of work!



2. I wandered into this CD while checking out the many great boxed sets that JSP Records has to offer. I knew very little about Louis Jordan before hearing this, and now I'm hooked! For anybody whole loves to hear the building blocks of modern music, this is for you. If you like to hear things like Bob Wills, Milton Brown, Louis Armstrong, This is for you.



3. Wolf Shadow, great review. Louis Jordan was my uncle and I have almost all of these great cuts on original 33 1/3s and even 45s and 78s. I will buy this CD to preserve my Louis collection which I hardly ever played in the past 40 years.
   
   I give it four stars instead of five because his grearest blues hit "Nobody Knows You When You're Down and Out" is not included in over 130 cuts.
   
   There are others I would have liked to have seen included like 'School Days', which we loved as kids years ago. Plus more of his blues solos. Lots of people did not consider my uncle a "serious" musician, which he surely was.
   
   All in all, a great box set well worth the price.



4. Don't think twice-- buy it! Great collection goes on and on, and never runs out of steam. Louis Jordan was at his peak when these were recorded. I repeat: buy!



5. The sound quality on this set is great with one exception: "Five Guys Named Moe" sounds horrible! It sounds like it was dubbed from an out-of-round record! What's most puzzling is that this is the only track that sounds bad, and that this was one of Louis Jordan's biggest hits, with many superior transfers available. JSP usually does a stellar job with sound - what happened here?! Luckily, I still have my LP version. Otherwise I'd give this set 5 stars.

5 comments about Mahler - The Complete Symphonies / LPO, Tennstedt.

1. I am almost as enthusiastic about Klaus Tennstedt's Mahler as any of the reviewers below. Since his death, the conductor's reputation has grown steadily -- his Mahler cycle was inevitably overshadowed during his lifetime by bigger marquee names like Bernstein, Solti, and Karajan. As a bargain set, Tennstedt's Mahler contains as many original ideas as Kubelik's on DG, and for sonics and orchestral execution it's probably a few degrees better.
   
   Yet EMI's studio versions aren't really a match for Tennstedt live. He became more spontaneous and inspired in concert (one can't say quite the same for Kubelik, whose live Mahler on the Audite label sounds essentially the same as his studio versions). To test this out, try and find the live Teenstedt recordings on the Memories label. (Because it's an Italian pirate, Amazon doesn't carry Memories, but you can go to www.berkshirerecordoutlet.com.) A good place to start is the 2-CD box containing Sym. 1 and 2, both with the adequate NDR orchestra of Hamburg. The concerts date from 1977 and 1988, and both symphonies are capturd in excellent broadcast stereo, full and rich enough to mistake for studio work.
   
   In these readings you will hear the truly great Tennstedt. Mahler was as emotionally complex and technically intricate as any composer in history, and it takes a lifetime to plumb his depths. Tennstedt belongs among the charmed handful of interpreters who can find a strong personal viewpoint in the midst of Mahler's whirling universe -- what he achieves with the first movement of the Second, for example, is breathtaking and utterly unique. Other enthusiasts have made the same claims for Jascha Horenstein, but to my ears Tennstedt rises to another plane altogether. I may be overly influenced by Horenstein's habit of ignoring the need for good orchestral execution.
   
   If you find yourself bowled over by the First and Second, as I was, Symphonies 3 - 7 can be found in another Memories box set. I haven't heard it yet, but the orchestras rise to a much higher level (Boston, Cleveland, New York), so I can't wait.
   
   P.S. - In time I did hear the Memories box set of Syms. 3 - 7 and remain enthusiastic about all the interpretations. However, some of the braodcast sound is tubby and/pr shrill. Try the earlier set of Sym. 1 and 2 before taking the plunge.



2. Tennstedt's interpretations emphasize the darker side of Mahler's scores; hence he is among the "hands on" Mahler conductors, such as Barbirolli. Especially successful interpretations are those of # 1-3, 5, and 9. The sound is mostly fine analogue stereo, but some of the recordings are problematic: early digital with a nasty, edgy sound.
   
   Some comments of each recording.
   
   Symphony 1. A very fine interpretation, in outstanding analogue sound. Especially the two final movements are memorable showcases for Tennstedt's dark emphasis. But Kubelik's recordings (DG and Audite) are more consistent.
   
   Symphony 2. Excellent drama and tension, but the sound is not entirely satisfying (edgy early digital). Consider Metha's fine recording (Decca) for reference.
   
   Symphony 3. Also a very fine performance, but perhaps not great. Excellent, swift account of the finale. Anyway, first choices are Kubelik (DG and Audite), Barbirolli (BBC) and Schuricht (Classical D'Oro).
   
   Symphony 4. Not entirely successful, too fast and partly weak playing. Popp is excellent in the finale, however. Again, Kubelik is my first choice, followed by Barbirolli (BBC) and Horensten (EMI).
   
   Symphony 5. Excellent! A classical reading of tremendous power and passion. Very fine sound too.
   
   Symphony 6. Bad hammerblows, and a lukewarm middle of the road reading. The most problemtic interpretation in this set. Barbirolli's is my favourite recording (EMI), but Horenstein's is fine too (BBC or Unicorn).
   
   Symphony 7. Slow and entirely unconvincing, especially in a crowded field with great recordings, such as Kubelik's (DG and Audite), Gielen's (Hänssler), Bernstein's (DG and SONY).
   
   Symphony 8. Mahler requires two choirs, Tennstedt uses only one. Thus no "heavenly" sound. In addition, I have hard times with Lott's voice. But the recorded sound is very fine. Kubelik (Audite), Horenstein (BBC) and Mitropoulos (Orfeo) are first choices.
   
   Symphony 9. One of the best recordings in this set, and a moving interpretation as well. Consider Ancerl (Supraphon) and Klemperer (EMI) for reference.
   
   The Tennstedt set was for a long time the best and cheapest bargain set. But now it has been challenged by Gary Bertini's Mahler cycle on the same label. That set is more or less contemporary with Tennstedt's set, but it is generally far more arresting - virtually the interpretations and the recording quality are clearly superior. In addition, it is even cheaper. So my advice is that budget collectors grab the Bertini cycle while it is available. It is the best Mahler bargain cycle, and it is even better than many other, more expensive sets. However, Kubelik's classic cycle on DG remains my first recommendation.
   
   Nonetheless, dedicated collectors should have the Tennstedt cycle too. Recommended, but not without reservations.



3. Tennstedt has his unique ways and skill of engeenering the sound of Mahler's symphonies.
   
   Personally, I enjoy this CD set of Symphony 1, 5, 6, 8 and 9



4. I can say, what sound quality and performe of this symphonies is on top,best i ever heard. I'm professional musician,so this is not just a mere words.



5. Whether you are new to Mahler or just a fellow Mahler enthusiast looking for yet another way of hearing these wonderful works, this well-recorded 11-disc set strikes me as a clear "best buy." I recently acquired a brand-new, sealed copy from one of Amazon's alternative vendors for about $40, which works out to less than $4 per CD.
   
   On 19 December 1974 I was fortunate to attend Klaus Tennstedt's American debut concert with the Boston Symphony. The sole work was Bruckner's 8th Symphony (I am amazed to discover that I still have the concert program). The East German conductor was tall, gaunt, and seemingly rather un-coordinated: he almost fell down on his way to the podium. But once he lifted his baton, egad! The BSO, which often sounded so dispirited under Ozawa, immediately caught fire and delivered one of the greatest performances in my entire concert-going experience. Sadly, Tennstedt's later studio recording (different orchestra) was just a shadow of what I heard in Boston.
   
   My interest in Tennstedt was re-ignited a couple years ago by the purchase of an expensive ($225) box set of "live" Mahler recordings put out by the NY Philharmonic. Its main attraction was the opportunity to hear the legendary Mitropoulos 6th (superb!), the 1950 Stokowski 8th (excellent, but no match for Horenstein's), and Walter's Das Lied with Ferrier and Svanholm (preferable over-all to Walter's famed 1952 studio effort on Decca). But the set's two biggest surprises were a hypnotic 7th under Kubelik and a staggeringly brilliant Tennstedt 5th: I can't recall EVER hearing the orchestra sound quite this good in Mahler under Bernstein.
   
   The present Tennstedt set is not at that rarefied level: these are studio readings with a fine but lesser ensemble. The 1st is fairly straightforward and beautifully played, if lacking a little in the klezmer music's inherent vulgarity. The 2nd is very satisfying if, like me, you prefer a less interventionist version than Bernstein's. Regrettably, the sound here is rather recessed - you really have to turn up the volume to achieve sonic impact. The 3rd is better played & recorded than Horenstein's, if not quite its interpretive equal. Tennstedt's 4th is excessively hasty in the first mvt. and Lucia Popp's singing is rather over-extended in the 4th mvt. Beautiful slow mvt., though. The 5th, while to my ears clearly superior to both Kubelik and Bernstein, is not as brilliant as Tennstedt's later live EMI version or the live NY Phil. account. The 6th is a bit "over the top" for my taste and has some messy brass playing, but it's an unquestionably committed account. The 7th is a little tentative in the first mvt. but fine thereafter. The 8th has, along with the 3rd, the set's best recorded sound. It's a performance of real stature, despite an under-sized chorus ("the symphony of 500?"). The 9th is somewhat heavy until the last mvt., which is gorgeously played (likewise the Adagio from the 10th).
   
   So Tennstedt's set, like everybody else's, is a bit uneven. His main competition in the complete set sweepstakes comes primarily from Bernstein (Sony) and Kubelik (DG). Bernstein's is a highly proselytizing Mahler, with frequent dramatic underlinings and triple exclamation points: to my ears Lenny is just a little too exaggerated and inveigling. Kubelik has a rather rustic-sounding orchestra and often veers toward quickish tempos, with recorded sound that is uncomfortably bright and bass-deficient. If you are looking for a first-ever set in reasonably decent sound, this Tennstedt offering is probably the best choice (and by far the cheapest).
   
   Ultimately, just as a meal prepared from scratch will satisfy more than a TV dinner, I feel that choosing individual readings from a variety of conductors is the most satisfying course to pursue. My suggestion: buy this cheap Tennstedt set and then garnish it with some of the best individual offerings, plus a completed version of the 10th and a Das Lied (a symphony in all but name). Here are my current preferences in addition to this Tennstedt set:
   
   #1. The live Kubelik (Audite) is just about perfect - it's even better than his two studio versions. The mono Horenstein on Vox (great interpretation, some scrappy playing) is closer to how the music was played in Mahler's day (e.g., lots of lovely string portamento), and it's available for just $3.98 from Berkshire Record Outlet.
   
   #2. The Scherchen (Millenium), despite some eccentric tempos, has choral entries steeped in mysticism, and Mimi Coertse's glorious soprano voice is unmatched for innocent radiance (what a shame she didn't do a 4th with Scherchen). The studio Klemperer (EMI) is excellent, but I prefer his more urgent live 1951 Amsterdam account, with Ferrier's unforgettably valiant Urlicht (recently available on a Membran CD for just $2.99 at broinc.com).
   
   #3. Horenstein (Unicorn) is simply indispensable. Another of my favorite 3rds comes live from Jean Martinon and the Chicago Symphony. It features spot-on ensemble, a deeply-felt interpretation, and sensational recorded sound. It's available only in an expensive ($225) 10-disc set from the CSO (which includes an outstanding live Bruckner 7th with Tennstedt). I also admire the big-hearted Barbirolli 3rd (BBC) and Mahler disciple F. Charles Adler's old-fashioned account (Tahra).
   
   #4. Horenstein (Chief CD) and Kletzki (EMI) now strike me as the finest stereo readings. Would somebody PLEASE re-issue the enchanting Otterloo (Epic LP)? Stich-Randall's ingenuous soprano was just about ideal. And, last but not least, there's the Mengelberg (on Q Disc and other labels) with the appealing soprano of Jo Vincent.
   
   #5. Tennstedt/NY Phil. is breathtaking, even though I prefer a quicker Adagietto (i.e., Mengelberg's stand-alone reading). A more blunt and very well-played account is Barshai's (coupled with #10 on Brilliant Classics). The early Scherchen (DG Westminster) is also a classic.
   
   #6. My favorites: Barbirolli (EMI), in spite (or perhaps because) of the slow 1st mvt., the blazing live Mitropoulos/NY Phil., and the live Rosbaud (much in need of CD re-issue).
   
   #7. The aforementioned Kubelik/NY is magical, even though the 1st mvt. is quite slow. I also treasure the Horenstein despite its poor execution (better heard on a Descant CD than on BBC or M&A). Scherchen (Orfeo) and Rosbaud (Wergo) present Mahler in a more avant-garde guise: both are riveting performances. The Bernstein/NY Phil. (Sony) strikes me as that conductor's finest Mahler recording.
   
   #8. Horenstein (BBC) carries the day for me. The 1950 Scherchen (Tahra) has problematic sound and some pretty awful singing: soprano Illitsch sounds like a mis-placed Brunnhilde, and mezzo Anday's wobbly vibrato reminds me of Bert Lahr singing "If I Were King of the Forest." But there are moments (the last ten minutes especially) where Scherchen achieves a Furtwanglerish intensity that is hair-raising.
   
   #9. Two that really stand out: Ancerl (Supraphon), especially his electrifying Rondo Burleske, and the mono Horenstein on Vox.
   
   #10. My favorites: Wyn Morris (an Adagio of heart-rending loneliness) and the Martinon/Chicago (too fast in the Adagio but brilliant otherwise; available only in another wallet-depleting 12-CD box set). The Morris (Philips LP) is WAY overdue for a CD transfer. Barshai's 10th (coupled with his 5th on budget label Brilliant Classics) is excellent.
   
   Das Lied. Kubelik (Audite) with Baker & Kmentt is a superb all-round choice. The 1939 Schuricht (Minerva, etc.) has Ohmann's Melchior-like heldentenor (extraordinary!). The finest studio set is probably the Klemperer with Ludwig & Wunderlich (EMI). Ludwig is even better with Kmentt in a live Carlos Kleiber set on Golden Melodram (but the sound is rather poor).
   
   This Tennstedt set is a fine and inexpensive introduction to Mahler's symphonies. After adding a completed 10th, a Das Lied, and perhaps a few supplementary readings, you can then sit back and revel in many hours of glorious music making.
   

4 comments about The 1930's Recordings.

1. I am a big Mills Brothers fan and thought I just couldn't live without this 5-disc set of their earliest recordings. Frankly, I've become bored. The producer decided every recording, in chronological order, even those recorded twice, three times, even four, should all be included. I've struggled to listen all the way through, and am still working at it; after all, I paid $60 bucks for this set. At the same time I purchased THE ANTHOLOGY (1931 to 1968) which is nothing short of delightful. That's the one I recommend!



2. What a great collection of music! I knew very little about the Mills Brothers prior to buying this set, and pretty much found this item by accident (you know how it is on Amazon). But I have purchased JSP sets before, and was familiar with their high quality and value. So I took a chance on the Mills Brothers, and since getting these I've listened to the set over and over, I never seem to get tired of it. Yeah, a few of the songs are repeated now and then, but it's all good. I have to say that this is one of the best music purchases I've ever made. I'm just glad that CD's don't wear out.



3. JSP has done it again! I'm a big fan of their CD box sets--I've got the Jelly Roll Morton set, the Louis Armstrong set, and the Carter Family set. They're all excellent! This one is no exception. The remastering is by John R. T. Davies, so naturally, the sound is superb. From the earliest 1931 recordings through the 1938 sessions here, the recordings are crisp, clear, and rich-sounding. Each piece is a gem. The Mills Brothers voices blend so smoothly together, I could listen to their records for hours. And with this 5-disc box set I *can* listen for hours! Each disc is packed full, and I appreciate having the alternate takes. Occasioanlly on these discs, the Mills Brothers are joined by Louis Armstrong, Bing Crosby, Alice Faye, Cab Calloway, Ella Fitzgerald, Dick Powell, and a few others. The liner notes are good, and for five CD's, you can't beat the price. My only complaint--and it's a small one--is while the recording dates and master numbers for all selections are given, no indication is made of the original record labels or numbers.



4. My reason for not giving this five stars is due to the large number of alternate recordings of duplicate songs, but this is really due to the utterly documentarian approach the folks that put this CD together followed. Every single recording from the Mills Brothers earliest years are here (in stunningly good sound), presented in chronological order, which means that the listener is subjected to multiple recordings of "Caravan" and others. If you are a Mills Brothers fanatic (as I am), this is an indispensable set to own. If you are a more casual fan, pick up one of the greatest hits CD's listed here.

5 comments about Dick's Picks, Vol. 10: Winterland, San Francisco, CA, 12/29/77.

1. It certainly is all opinion when the Subject is Live Grateful Dead. There are Heads that list their Favorite Year of Dead Shows as 1969, there are many Folks that tend to like the Jazzier/Jammier 1973 Shows, and 1985 was a Popular Year to find on Trader's Tape Lists back in the Late 1980's. Well, because of those Tape Lists, I was able to explore lot's of Different Years of Live Grateful Dead Music and for me THE Year that has stood out as being my Favorite is 1977. The reason that 1977 is my Favorite is because of the SOUND of the Band, and during this year the Sound is Rich & Warm, and it transports to Tapes and CD's (Thank You, Dick} in very Cool Colors & Texture. The playing of The Group {For Me, remember it is all Opinion} of 1977 has that Extra X-Factor, that Soars above most other Great Years of these Special Concerts.
   
   The Most Popular Grateful Dead Show of 1977 is by far 05/08/77, the Barton Hall Performance from Cornell University. If we had a High Quality Tape of 12/29/77 way back in the 80's, this Wonderful Show from Winterland, {THE Place to see The Dead in the 1970's} would have been right up there with Barton Hall or Buffalo {05/09/77) or Englishtown, NJ {09/03/77}. But, Dick has brought this Gem Out of the Mists, and now we can drink this Great Night in!
   
   From: "Jack Straw" thro to the Encore of: "Terrapin Station", this Show is ON, Jerry adds something Extra to the Music throughout the Entire Show, And if you don't know about Keith, and WHY he is so Special, then you need to start here to see what all the Fuss was about. The Piano is mixed right up front, {A Crime on other Dick's Picks, when it is not!} and Thank the Gods that is! Keith was having a Night here, as this Show features some of his Best Playing that I have ever heard...Well, anywhere. And We Shant Forget Bill & Micky, On this Night they are a Percussion Force of Might {Much like a Runaway Train, that is about to Jump the Tracks, but doesn't}.
   
   
   The Second Set From the Smokin': "Bertha" thro to the rap up "Playing in the Band" Sequence is Pure Magic and Must Be Heard to be believed...This Music has the X-Factor Plus 10, it has been often said that you could have heard a pin drop in Winterland during this Famous Set of Music. Well, now you can hear it in all it's Glory, and you will know just WHY those Jaws were dropping during this Famous Second Set from San Francisco.
   
   Yeah, I'm a little biased in my opinion of Live Grateful Dead Music {And after hearing 1,500 Hours of it, YOU would be as well}. But, when something stands out as Special, your Ears certainly take notice, and of this Winterland Show, you will again realise WHY we are called: "Dead-Heads" in the first place.
   
   This is Some of the Finest Live Grateful Dead Music, that you are gonna be Lucky Enough to hear....Buy This One...Nuff Said.



2. This Pick would be the ideal show to select (of the officially released live recordings anyway) to break someone else in to The Dead. To introduce them to the world of the Dead, so to speak. Why? Because while this is one very well played, and at times intense, performance, it is also a very accessible show. It is certainly more "beginner-friendly" than any of the picks from the 73-74 period, or even the easygoing shows of the 70-Euro 72 era.
   
   I'd agree with the previous reviewer's comment that much of the show sounds like a typical first set for the band, in that it was much more song oriented than it was jam oriented (although there are some great jams included, such as the PITB>CHINA CAT>RIDER>CHINA DOLL>PITB and a wonderful Terrapin Station, as well as a beautiful Eyes of the World added from the next night's performance). And The Dead's first sets were notorious for their easy-going vibe resulting from the usually country-rock-blues flavor of the usual first set selections. Most Deadheads considered the first set as the perfect warm-up for what was to come in the dark, spaced out, and even mystical, marathons that comprised the second sets.
   
   But this is still "The Good Ol' Grateful Dead", just a much more rocking and rolling version as by this point, they were very well dialed in to yet another phase/stage of their art and were putting the finishing touches on to perhaps their most magical year, 1977.



3. Faced with all the rave reviews, I figured I couldn't go wrong -- after all, Bobby opens the show by saying the band is going to "play everything just exactly perfect, on account of our new name is the Just Exactly Perfect Brothers Band." But I have to offer a different take on this one. Yes, it's energetic, but to my ears the magic is missing. It sounds like an AOR mainstream version of the Dead. It's not bad, but it's not what I am seeking in the music of the Dead, not what they are capable of at their best. Even when jamming (and there are no spectacularly long improvised jams here), the whole show sounds like a first set. I haven't heard much '77 Dead, but if this is indicative, I can't join those who say it was of the band's best periods.
   
   For better Picks, see my reviews of DP16 (1969), DP4 & DP8 (1970), DP23 (1972), and DP19 (1973). DP31 (1974) is outstanding as well, but as of yet is only available direct from the Dead. For more, see my complete lists of Dead recordings on this site for 1968/9 (PRANKSTERS & OTHER ONES), 1970-1972 (COSMIC COWBOYS), 1973/4 (EYES OF THE WORLD), and 1975-1977 (ESTIMATED PROPHETS).



4. A five star rating would be granted only if I were present, in the flesh, at this incredible '77 show (it was a very good year...). Every performance is epic in an of itself. If there were only one Dead album I had on my shelf, this would have to be the one!!! I've heard some wierd stuff about this show changing people's lives. I can almost buy into it....almost...



5. Pure power. Seamless transition. A complete musical group-mind. All the pieces were in place a few days after Christmas in 1977, and the Dead were at their home, the Winterland in San Fran.
   
   The rest is history.
   
   In the annals of live Dead shows, this one is truly memorable. From the very first note, everyone is in peak form. Jerry's not stumbling on leads out of the gate, Bob isn't forgetting any words, and it seems even Donna is singing in tune consistently.
   
   But it's the second set re-emergence of "China Cat Sunflower," in the middle of a mind-melting "Playing in the Band" that really cements this as a classic set. They hadn't played "China" in 3 years, and suddenly it emerges. You can hear people in the audience literally freaking out.
   
   Obviously, this album is for Dead freaks like myself, but if you're looking for a totally solid live recording of them, this is a great place to start. Very little pretentiousness, mostly meat and hardly and filler. This is the sound of a rock band that had transformed itself into a psychedelic hurricane, unleashed on the California coast.

5 comments about The Songbook Collection.

1. Rosemary Clooney was one of the greatest singers of the great American jazz and pop standards. This collection features her work from 1979 to 1989, with some of the best songs of Ira Gershwin, Cole Porter, Harold Arlen, Irving Berlin, Johnny Mercer, Rogers and Hart, and Rogers and Hammerstein...some of the best American song writers of the past century.
   
   The sessions feature outstanding musicians that really make the music come alive. The recordings have that "Concord" sound: you feel as if it is a live performance and you are sitting just a few feet from the band.
   
   Rosemary Clooney brings the experience of a lifetime to her interpretations of this music, making even the oldest songs in the collection seem new again. This is simply one of those "Desert Island" collections that every fan of the "Great American Songbook" must have.



2. I was in my high school and college when the great female (and male) singers were providing real music. This is a wonderful collection of songs by the master song writers. To the writer who complained about the format of the song I suggest going out and finding a 45 rpm record and listen to the way it was done. To this day we are stuck with the 3 min. song that was the capacity of a 78 rpm record. Sometimes a song would be done on two records because of this limit. This is a WONDERFUL set and I wish they had ones for Kay Starr, Peggy Lee and others. It is only since the CD that this limit gets broken, but those probably won't get air play because the playlists are often set around the old length song.



3. There are some standouts in the Clooney's Songbook Collection, "When October Comes" and "P.S. I Love You" from the Johnny Mercer CD, for example. Her exurberant rendition of "It's De-lovely" from the Cole Porter Songbook and the tender rendition of Irving Berlin's "Better Luck Next Time" are also standouts and may be the best renditions of those songs ever recorded. But the whole collection is solid. Even if you prefer another interpretation of some of the songs, or, like me, do not want to EVER hear anyone sing "Ding Dong the Witch is Dead" (and, to my astonishment, serious artists insist on recording it), Clooney's versions are always at least good and there are treasures throughout the collection. I highly recommend it.



4. I bought this collection as I first got into the Standards genre. I really wanted to like it, but it seemed like she hardly sang in any of the songs within. Each song (and I do mean every single number) consisted of one or two short verses, followed by a very long instrumental, and ended with a short closing chorus.



5. Rosie recorded several songbook albums between 1980 and 1990 - six of them are collected together in this beautifully packaged box set. There are not many up-tempo songs here, but it does not matter because Rosie was such a great ballad singer.

   The first CD focuses on the lyrics of Ira Gershwin. George composed the music for all except two of the songs, the exceptions being Long ago and far away (Jerome Kern) and The man that got away (Harold Arlen). Perhaps the best-known songs here are Fascinating rhythm and Nice work if you can get it.

   Rosie raided Cole Porter's catalog to get the songs for the second CD. Perhaps I get a kick out of you is the best-known, but several of the others are not far behind.

   The third CD covers the music of Harold Arlen. The most famous songs here are Ding, dong, the witch is dead (from Wizard of Oz) and Stormy weather.

   The fourth CD is a tribute to Irving Berlin, which includes Cheek to cheek, There's no business like show business and Let's face the music and dance, together with several less well-known songs.

   For the fifth CD, Rosie sings some of Johnny Mercer's great songs. By far the most famous here is I remember you, with which Australian singer had considerable success in the sixties (it was a number one in Britain).

   Richard Rogers is the focus of the last CD, with lyrics by Hart or Hammerstein, of which The lady is a tramp is the most famous.

   Of course, anybody with any knowledge of the Great American songbook will recognise a lot more songs than those I mentioned, but Rosie did not always record the obvious songs, so most people will find songs here that they haven't heard before. This is a truly magnificent collection which is essential for anybody interested in the Great American Songbook.

5 comments about A Night Out With Verve.

1. I had great expectations for this product based on the other reviews. I have so far listened to the Dining and Dancing CDs. I am not a music expert, but even to me most of the songs seemed to be mediocre selections of the artists.
   
   The dance music may be good for tap dancers. There was hardly any good swing selections. The Louis Armstrong selection is hardly dance music. There is nothing that says that a particular music relates to the activity.
   
   But it is still a good selection from a wide variety of artistes.



2. I would highly recommend this set to anyone who is starting a new Jazz Collection. It has a selection of all the greats & even some contemporaries. This set gives you the chance to listen & discover all of these artists & then it is up to you to investigate those artists that appeal to you. You won't find too many sets i'd imagine that have all these jazz legends in a set like this especially at this budget price.



3. Glorious, fabulous, fantastic! There are names here that no sane person could ever tire of. A delightful collection from an incomparable era. Enjoy.



4. I'm a die-hard Ella Fitzgerald fan, and when I heard her along with Louis Armstrong and such other greats as Sarah Vaughan, Duke Ellington, George Shearing, Chet Baker, Dizzy, and others, I absolutely had to buy it. Have given it as gifts on many occasions, and everyone loves it....even the youngsters ( between 25 and 40)!. Great buy, and great gift for any occasion.
   
   E. Perry



5. Absolutely love the collection from Verve's archives. Features some of the best and the most beloved performers of great Jazz era. Wining, Dining, Dancing and my favorite Romancing. Seems like there is a limitless list of absolute fantastic ballads and wonderful dance numbers. Beautiful music, will recommend to everyone I see.

5 comments about Hillbilly Hero.

1. I'm really impressed by this 4 CD collection. Apart from his last 1952 the CD's covers Hank Williams' entire career. hough it's slightly frustrating having to look out for his last recordings somewhere else, this is really a great buy. The sound surprisingly good, even the radio acetates from his Health and Happiness shows sound good, and it's very interesting to experience a little of how Williams was a a live performer. The 52 pages booklet contains a detailed biography and a lot of information about Hank's sessions and recordings.
   
   Highly recommended



2. This CD is one of the best Hank Williams greatest hit's albums I've seen around. It's got almost all of his most popular songs such as; "I'm so lonesome I could cry," "Long gone lonesome blues," "Jambalaya," "I Saw The Light," etc as well as many rarer songs and Luke the Drifter songs. Though it is still not complete. It is missing a few well-known songs like "Your Cheatin' Heart," "Angel of Death," and a few others. And there are a whole lot of other not so well known songs that are not featured on the album that are really good, such as; "Alone and foresaken," "Please don't let me love you," "Someday you'll call my name," "I can't escape from you," among a few others. I definitely reccomend buying this CD though and then picking up the slack with other greatest hits albums, the album "Alone and Foresaken," and other Hank Williams albums that features rare songs/demos.



3. This sounds like a wonderful boxed set. But there are not song samples available with the CD song list, so one cannot hear ahead of time, what the sound quality will be. It would be helpful to have the sample link available. Older recordings can vary so much in sound listenability.
   PS (added June 2007)
   I did order this, and the sound quality is very excellent.



4. The music contained herein is a great overview of Hank Williams' earlier work and includes many hits and many obscure tunes.
   If you're a fan of toe-tappin' early country music or if you're a fan of the great Hank Williams Sr., then this set is definitely for you.
   The sound quality is very good (although a few of the Health & Happiness show transcriptions are a mite scratchy, as are a couple of other tunes) and there a nice booklet all about Hank and the music.
   "Hillbilly Hero" is another fantastic value from the folks at Proper. How they manage to produce such great sets at such a low price is a mystery to me but I hope they never stop.



5. This boxset is better then the expansive Complete Hank Williams set and about 75% cheaper. On 3 cds, each one is over 70 minutes long, you get every song that you need to hear from Hank Williams. The fourth is the Health and Happiness shows, while I didnt prefer those too much-hearing Hank talk is awesome. His voice is so cool and a good live performer. This is a essential set, a might buy for a music lover.

5 comments about Fillmore East: April 1971.

1. para aquellos que no tuvimos la suerte de vivir un concierto de estos freaks, pienso que es una excelente muestra de un instante en su maravillosa carrera..sonido espectacular, temas buenisimos, presentacion edl box digna, en fin, un producto sublime.



2. All live Dead recordings have their warts, but in terms of both performance and sound quality there is no equal to this one. Only "Europe '72" comes close and, as with "Ladies & Gentlemen...", I feel that recording is underrated by the Dead faithful. It seems that for many, every live Dead recording comes down to how long the version of "Dark Star" is. I enjoy that exploratory and introspective side of the Dead as well but I wouldn't categorize "Truckin'" and "Sugar Magnolia" as light weight sell outs as some seem to. There are no better versions of "China Cat Sunflower" and "St. Stephen" as there are here. Jerry has never sounded better. The version of "Dark Star" is fine although some will dismiss it for only clocking in at just under 14 minutes. I also don't understand how some feel there's not enough Pigpen on this one. I have never heard more organ and harmonica on any other live Dead recording (including Dick's Picks) Some of the pop/R&B covers such as "Second That Emotion" and "Good Lovin" are irritating as I think they are on all live Dead recordings. The vocals here don't match the lush harmonies of the "Europe '72" recording. I have Dick's Picks 4, 8 and 36 and I think they are overrated. I appreciate the disclamers on the recording quality limitations but I think the performances are too raunchy regardless. The exception is the acoustic set on the first disk of DP 8. If you have "Ladies & Gentlemen..." "Europe'72" "Workingman's Dead" and "American Beauty" you're all set for the Dead. Check out Jerry's work with Dave Grisman as well.



3. Hello fellow Deadheads, many of you have read the reviews slamming these truely grat shows and picking them apart, not me.
   This is a great collection of music that will be an asset to any collection. Pigpen is awsome here folks and really stands out as the powerful member of the the band that he was. Bottom line: this is a must have for any true Deadhead. I love this CD and the great snapshot of history that shines through here.
   "May the skin of your ass never cover a banjo" Keep Jammin.
   Phil on the East Coast.



4. This is a great collection of much of the grateful dead's work. Pig's version of "turn on your lovelight" on here is the best version i have heard of the song. "bertha" is flawless here, as is "china cat sunflower". This is the best live dead album i have heard, and ive heard alot, if you have the money and are new to the grateful dead, or just want a collection of the dead at their best, buy this set!



5. Disc 4 has the best version of Alligator (drums, jam) I have ever heard them play. It doesn't get any better than this. This set is a must have.